Bernardo Villela is like a mallrat except at the movies. He is a writer, director, editor and film enthusiast who seeks to continue to explore and learn about cinema, chronicle the journey and share his findings.

Review- Hereafter

Clint Eastwood over the last decade has emerged as one of the pre-eminent American filmmakers on the cinematic landscape. Part of the reason behind his emergence is his belief in tried and true classical storytelling techniques. They are the kind of techniques that form the foundation of film and have become almost outdated due to their simplicity. This straightforward approach is avoided by most not only for aesthetic reasons but also because you have little to no margin for error when you are this direct. Some may call it ham-handed or on the head but that just indicates a personal disconnect with the material what best describes it is direct.

Why this analysis of his style is even worth mentioning is because he has now applied it to many different genres and/or styles of tale within close proximity to one another. In this tale, however, there is a little something missing from it. It’s almost as if the subject of the hereafter needs a little bit of an arcane approach to be as effective on screen as it could be.

There is, of course, also the concern of the limited omniscience that is rendered this tale. We are left examining people who are touched by death but none who actually die. We don’t follow them we follow the living, which makes it a much more mundane human drama, which can be as interesting if not more so. Of course, it ends up being a tale about life but there is no major insight or revelation offered save for some reassurance that there is something to look forward to in the big sleep.

It tells a three-pronged tale which will predictably intertwine and much like You Will Meet a Tall Dark Stranger it could’ve used some more judicious edits to make the story it tells just a bit tighter. One example is the trip that Marie, played wonderfully by Cécile De France, takes to Switzerland. She is only there to get files from a doctor. Yet there is quite a bit of her walking about and witnessing melodramatic deathbed scenes before she meets with the doctor. In tandem with that both her scenes with her publisher run a bit long and could’ve been shortened. The eventuality of the intertwining becomes apparent at some point so the journey needs to be truncated somewhat.

The acting overall is very strong and carried the movie through its doldrums. Matt Damon in particular is quite effective especially when he is doing readings on people which he approaches tentatively.

This film is also proof that films don’t necessarily need to be replete with incident but at least information such that the story moves on. Both Marie and Marcus have their very clear inciting incidents which are huge but the rest of their respective journeys are filled with a lot less fireworks but no less interesting just a bit longer than necessary.

Eastwood in this film is tackling a bigger subject with much the same approach he has faced others except musically. If there’s one thing that sets Eastwood apart from most is that he typically also scores his own films. In this film, however, the score is never noticeable. Which is good because it doesn’t call attention to itself but it also doesn’t enhance the film greatly.

All that said this film does have its moments of surpassing quality. Particularly the ending and the much anticipated reading. It does give us wonderful visuals in the rare glimpses of the afterlife we do get and does acknowledge the enormity of its subject matter and gives you some food for thought.